{"title":"Out of Sync in Havana: Two Socialist Visions of Global Contemporary Art","authors":"Sohl Lee","doi":"10.1111/1467-8365.12689","DOIUrl":null,"url":null,"abstract":"<p>On 1 November 1989, when the third edition of la Bienal de la Habana opened its doors, the show included ink paintings from North Korea called <i>chosŏnhwa</i> (literally ‘Korean paintings’). By that time, the Korean–Cuban friendship had lasted for more than three decades, following its formation after the 1959 Cuban Revolution, and based on the principle of Third World solidarity. But this encounter in 1989 illustrates that their contemporary art was out of sync with one another. The Korean presentation contrasted with the more installation-oriented, inter-media works submitted by Cuban artists who were part of the ‘New Cuban art’ wave. As an archeological study on these two starkly different visions of ‘contemporary art’, this essay sustains a bifurcated view onto Pyongyang and Havana as a method with which to reassess the culture of Third World politics and post-coloniality at the Cold War's end, and to propose a translocational, South-to-South method of art history.</p>","PeriodicalId":8456,"journal":{"name":"Art History","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2023-02-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Art History","FirstCategoryId":"1085","ListUrlMain":"https://onlinelibrary.wiley.com/doi/10.1111/1467-8365.12689","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"ART","Score":null,"Total":0}
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Abstract
On 1 November 1989, when the third edition of la Bienal de la Habana opened its doors, the show included ink paintings from North Korea called chosŏnhwa (literally ‘Korean paintings’). By that time, the Korean–Cuban friendship had lasted for more than three decades, following its formation after the 1959 Cuban Revolution, and based on the principle of Third World solidarity. But this encounter in 1989 illustrates that their contemporary art was out of sync with one another. The Korean presentation contrasted with the more installation-oriented, inter-media works submitted by Cuban artists who were part of the ‘New Cuban art’ wave. As an archeological study on these two starkly different visions of ‘contemporary art’, this essay sustains a bifurcated view onto Pyongyang and Havana as a method with which to reassess the culture of Third World politics and post-coloniality at the Cold War's end, and to propose a translocational, South-to-South method of art history.
期刊介绍：
Art History is a refereed journal that publishes essays and reviews on all aspects, areas and periods of the history of art, from a diversity of perspectives. Founded in 1978, it has established an international reputation for publishing innovative essays at the cutting edge of contemporary scholarship, whether on earlier or more recent periods. At the forefront of scholarly enquiry, Art History is opening up the discipline to new developments and to interdisciplinary and cross-cultural approaches.
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